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    Hands in prayer same time of embrace strange way hold infant child. Or mercy: initial part gratification of touch overlap concluding part of long expectation, moment of Amen used to express solemn ratification (as of an expression of faith) or hearty approval (as of an assertion)Merriam-Webster.

    Cf moment of being both asleep and awake straddle cutting edge of wakeup alarm. Do I not register last bit silence-of-sleep when alarm goes off? How would I otherwise spot contrast occasioned by alarm? Light not sudden if no expanse of lingering dark. Not like case when become aware having heard some sound for some time already when finally noticing. Simeon not in snooze mode of slow dawn of insight or maybe precisely so.

  • [1715]

    Rembrandt brought sight and touch together worth remember since vision and touch repel each other whenever claimed things are not what they seem to be as when one faculty of perception fool another. Rembrandt touch act of seeing seen and sensed with all senses by observant beholder.


    Rembrandt model natural acclaim of phases of light and night. Carel Farbritius, gifted follower, learned same confidence, took up residence in Delft favored slightly dislocated model against lit up background, picked up pinch of Vermeer off-focus opticity added to his first master's ponderability.


    Even if Carel Fabritius made himself completely transparent to Rembrandt still thoroughly inventive. In Self Portrait Without Headgear put himself lower than portrait tradition would have it let attention slip past towards evenly lit up background wall.

    Assume Rembrandt in turn influenced by Carel in his Self Portrait with Two Circles from 1661 Kenwood House London. Towering Rembrandt hard to bypass, were it not for that unusual backwall with two hemispheres strongly suggestive of lateral expansion.

    Delft connection in motion picture Ida, 2013, Paweł Pawlikowski director, Lukasz Zal and Ryszard Lenczewski photographers, Agata Trzebuchowska and Agata Kulesza main characters. Their collaboration completely transparent to Fabritius, still thoroughly inventive and vice versa Fabritius transparent to Ida. Of course Vermeer looming in background. But Fabritius more pertinent in terms of troubled mind in space of Delft and nowhere else, even when transposed to Poland. Does not take anything away of burden but does good all the same.


    Rembrandt Self Portrait With Two Circles and same author Self Portrait as Apostle Paul equally valid relative difference only: of domination and withdrawal respectively.


    Robert Smithson Floating Island and installation of same of later date. Long shot yet reminding of Affinitas still life rafting down river of time. Kalf good example of temporary shine and blossom before night take-over for good.

    Rembrandt no still life painter, liked show people at tables on beds adrift rafting Smithson feel. Rembrandt painted sum total one still life: girl looking at dead peacock. Does not conform with tradition. Still life is the picture category that by definition exclude beholder of the same from inside picture space, for you are the one and you are alone as its author. That little girl trapped in fascination not think of death. Rembrandt and Smithson rather occasion of suspended still. Like haiku. Does not contrast to anything no gradual transition. More pars pro toto of situation.


    Is not Dr.Deyman ultimate still life? And Dr.Tulp piece of genre in comparison?


    Vermeer View of Delft and Fabritius View of Delft. Catalogue information.

    Rembrandt still largely biblical. Catalogue info unaccompanied by picture of a Rembrandt Self Portrait and of St.Paul, sounds like two people side by side. Mineapolis and St.Paul, are they two cities or one? Rembrandt and St.Paul double citizen of art. But Delft is Delft. Proust saw light reflected from that roof nowhere else because Vermeer captured it there that very day Proust did.

    Shine singles out one definite situation never two. Double ring halo are not different halos linked together but one plus one males one. Weather Sun over Stockholm on April 20, 1535 (copy from 1636 of lost painting) odd because distributed light phenomena disturb axiomatic axis of eye perception. Would that be possible? Ask weatherman.


    City. Good it makes (detail Mérode Altarpiece). Neither gated nor besieged. Wittgenstein sprawling city cannot be laid siege to, since covering all land of language.

    City of mind, yet not celestial but down to earth or raising from sea. Good it makes does not lift off burden but changes perspective on weight. Might look desolate in Ida by Paweł Pawlikowski, from all it seen transpire and absorb make sorrow one cannot forget yet reassuring shelter of steadfast ruins.

    Extraordinary Carel Farbritius contemplate individual attachment to walls of city. Goldfinch fastened to same wall in front of which lined up himSelf Portrait Without Headgear. Cf St.Anthony visited by St.Paul in Grünewald desert contrary to City Of Heaven, they harbor in heart and mind with obvious confidence whilst debating trivia such as cookies of dogma distributed by crow cookie in beak service of God for a late break fast.


    View of Delft: Vermeer and Fabritius. From some lifted position on distance and in ant-perspective. Fabritius gradual transition from what violinist would see of his instrument whilst playing and right out into warped space. Vermeer flat view in comparison. Handicap of ant perspective: no crawl conquer view of pure eyesight. Proust sensed visual perfume of it.

    Joyce Dubliners and Ulysses different approach same city. Aspects of Delft aspects of Dublin. Biography nestled into fabric or set against looming context. Not readily paired but affording same basic distinction of close and distant.

    What Vermeer shows is position from where close up and beyond are as close neighbors as word print. Cut light and Vermeer is flatland of bookpage if not braille. Fabritius is not just light but also touch in comparison.

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